Writer’s Block in San Francisco

I am currently on a shoot in San Francisco.  I’m primarily here to conduct interviews and tape B-roll for a series of short videos.  In an effort to complete another project due at the end of the week, I am writing scripts in my “downtime.”

I have nothing against San Francisco, but I am jet lagged, miss my family, had to change rooms at 2:30 in the morning because of water dripping from the ceiling onto my bed and, if I may be blunt, my gastronomic system is a little backed up.  None of this has put me in the mood to come up with pithy and energetic host script copy.  So what to do?

I’ve devised a few tactics over the years to help me continue writing even when I really don’t want to.  A deadline is a deadline. So it’s handy to have a cadre of tricks to help bust through that block when necessary.

• Dance to fast music – This is my number one, go-to block buster.  I put on one song with a driving beat, sing loudly and dance passionately.  For me, this is a shortcut to meeting my muse because I totally leave the writing behind for 5-minutes and come back refreshed and energized.
• Take a chore break – If I am at home, I find it helpful to work on rhythmic activities like washing dishes or folding clothes while my sub-conscious works on the work. I almost always come up with an exciting breakthrough this way.  If I am in an office, I might clean my desk or do some filing, anything to keep my hands busy but my mind free.
• Walk away from the writing – Get out and take a walk.  This is another way to get the blood pumping and the words flowing.
• Go over the top – Write wild and crazy, over the top stuff.  Try alliterations or some rapping and rhyming. It’s fun and you just might come up with ideas that make the final draft.
• Check out a list of clichés – If I am having difficulty with a subject matter, I often look up a list of clichés on the internet.  Yes they are staid but they can also be entertaining. And even better yet, they can help me get a grasp on concepts in a focused and fun way.
• Get help – I have a couple of producer friends that I can call or email with a problem section and they help me work it out with a fresh eye.  I do the same for them. It’s kind of like having a writing elf.  And let’s face it, two heads are better than one.

In this particular San Francisco block, I’ve elected to write something else, something that I know would flow – this blog. It’s been fun and I’m feeling ramped up to continue the writing-for-hire.  If you have any other tricks let me know. I’ll post them and maybe try them next time. Happy writing!

Tape Labeling Etiquette

Yes, I am a tape labeling maniac.  I let every crew I work with know this about me.  I believe that every professional document is the ultimate communication device.  This is especially true for tape labels.  Yes, we are moving into a digital world where a lot of footage is moving around on drives.  But drives and discs sometime need labels.  And, tapes are not dead yet.  I don’t care about spelling. I’m not the best speller in the world myself but I do what to know what is on that tape.

Where did this labeling snobbery come from?  I lay the blame squarely at the foot of America’s Most Wanted.  I worked on the show early in my career and quickly learned the benefits of a well labeled tape.  At AMW, as at many places, the tapes moved between so quickly between so many people (producers, associate producers, shooters, transcribers, editors, production managers, etc.) that it was critical that all the pertinent information be placed on the label so that any person at anytime would know what was on that tape.  This point was driven home years later when I helped a production company sort through their archival tapes that were boxed and stored in a closet.  It was nearly impossible to tell what was what because the tapes were labeled with one word that meant nothing to anyone who was not there when the tape was shot.

Here is some basic tape information I like to include:

• Name of project, tape number, date
• Subject name, title, city
• Type of footage shot (interview, B-roll, stills)
• Technical specifications (frame rate and frame size)
• Audio info like what was recorded on each channel

If space allows, I’ll also include:

• Producer name
• Crew names
• Production company and telephone number (in case the tape gets lost in transit)

If I am working on a long shoot that will generate a lot of tapes, I pre-print labels with all the consistent information typed out.  I leave space to fill in information that will change from tape to tape like tape numbers and dates.

Now that I am supervising and executive producing more projects, I don’t go out into the field as much. But I do give a tape labeling demonstration every time I work with a new production staff after which I expect tape labels to come back full of significant information.

The Work of Indpendent Documentarian: An Interview with Emmett Williams

Just what does an independent documentarian do?  Where does he/her get  ideas?  How does he/she make a living at it?  I recently had a conversation with Emmett Williams, independent producer, to find out how he manages a career making documentaries.

I’ve had the opportunity to work with Emmett on several projects and am impressed with his scope of work.  His television credits include producer, writer, editor and camera operator.  His work can be seen on such national networks as The Discovery Channel, Animal Planet, TV Land and public television.  Emmett is also a song writer/performer, photographer, concert producer and journalist.  his passion for media and the arts is clear to anyone that has worked with him.  Emmett, a vegetarian, even ate seal meat to connect with his subjects during a shoot in Alaska.  What I’ve found particularly striking is his commitment to his projects and his ability to keep a sense of humor about everything his does.

As an independent producer, what type of productions do you produce/work on?
Mostly, I produce long and short form documentaries. Sometimes they’re ideas that I’ve come up with and sometimes I’ll partner with a non-profit organization to make a film about a topic that is important to them. For example, the film “Camp Twitch and Shout – The Movie”, which will be available online December 7, is a partnership between myself and the Tourette Syndrome Association of Georgia.

There are also a few online only projects that are in the works that are destined for YouTube or the Mission Man Media website, like a series of shorts about artists called “The Form Appears” and another series entitled “Everyone Has A Story”.

Finally, there are a few things I want to do that will be specifically for museums and galleries.

How do you find the projects that you work on?
It’s rare that I go out searching for stories to tell. Usually the stories just arrive serendipitously. For a documentary that will start production in January, the idea came from a conversation I had with a friend in a bar just a few months ago. There are an endless amount of stories out there that are waiting to be told, you just have to keep your ears open. I’m fortunate to be in some form of production on projects that will keep me busy through the first half of 2011.

How have you raised funds?
Every way possible. I’ve won grants, been funded by the organizations that I’ve partnered with, friends, family, the coin jar in my bedroom. Any way possible. I read somewhere that it takes 3 years on average to raise money for a documentary. You have to spread your fundraising wings as far and wide as possible.

I’m in the process of raising money now for a project in Africa and I’ve literally sent hundreds of emails, applied for grants all over the world and spoken with people on three continents trying to get it made.

Sometimes you work on freelance gigs for other people.  How do you feel about that? Do you limit the size and scope of freelance gigs?
Making documentaries is cyclical in that you make a film, then raise (beg) for money for your next one, so you have to earn money during that downtime in between projects. If I’m inbetween projects, I’ll preferably do some freelance writing or producing for television or for a company that needs something small, but I’ll do anything really to keep me out of an office.

BUT if someone from an office is reading this…and hiring on a temporary basis….

You often work as a one-man band producing, shooting and editing. Is there a lot of pressure to be responsible for every aspect of a project?
I really prefer working alone because I like the intimacy of just being one-on-one with the subject. I’ll often spend a few days just hanging out with whomever I want to interview before I even bring out a camera. I think if you are prepared ahead of time and really know your equipment it cuts down a lot on the possibilities of something going wrong. Of course, life would be easier with a crew as far as dealing with the equipment.  But for me, its worth the few times when I’ve forgotten briefly to turn on the audio or left something back at the hotel to continue to work independently. And the more you do it, the easier and more organized you become. The real key is a comfortable backpack and pants with lots of pockets. If you have those two things you’ll be fine.

Do you feel that there is a lot of room for creativity when producing a documentary?
The style of documentary that I like to do relies a lot on serendipity to be honest. I like to leave a lot of time to wait for things to happen.  Often, things are happening quickly and you are happy just to get the shot. While this style doesn’t lead itself to as much creativity as a fiction film, there is always a little room to put your own personal stamp on a film. It really takes sitting down before you start shooting and making a firm decision about the look and feel of your project.

I also think the most important aspect of making a documentary is the story and content. No matter the style, if you have those two things you can craft a strong project.

What is your favorite part about producing and why?
My favorite part is that moment that happens in most interviews where the subject finally lets their guard down and really opens up about whatever you are trying to get out of them. I really think everyone has a story and it’s my job to get it out of them.

What is your favorite project to date and why?
I’m editing the first of a four-part series called “Native Past, American Present” about the efforts Native Americans are making to hold on to their history, culture, and identity. I recently spent a month in Alaska on the project and everything about it was special. Incredible people, important stories, and beautiful landscape. That’s been my favorite so far, and I plan on going back next fall to spend two months working on part two of my series. And while I’m there I’ll be working with the Sitka Tribe of Alaska to teach filmmaking to Native children.

How did you get started?
I’d worked in television for about ten years when I decided that I really preferred working for myself, or at least on projects I really believed in. One day I decided that’s what I would do. In hindsight, it might have been less complicated to ease into documentary filmmaking instead of jumping into it blindly, but I knew what I wanted and somewhat knew how to get there. So, I just announced that I was a filmmaker and it’s grown from there.

Any advice for those seeking to do what you do?
Just do it. Cameras are dirt cheap, editing software most likely comes with your computer, and its free to put your stuff up online. There are an infinite amount of stories to tell. There are really no excuses if it’s something you truly want to do.

For more information about Emmett Williams and his work, please visithttp://www.emmettwilliams.com.

Secrets to Funding Your Dream Documentary

Here is an except from my interview with Bill Einreinhofer from the CD recording of the  teleseminar “How To Fund Your Dream Documentary.”  Bill is a National Emmy-Award winning producer, writer and director with over 20 years of television production experience.  He shared a lot of useful tips about how to raise money to produce a documentary.  Here he discusses how to approach potential funders.

SYDNYE: Before you introduce yourself and how fabulous you are and how fabulous your idea is, you need to know why and where and how much they give?

BILL: Yes. This is where you start looking at the giving history. This is where these various reference libraries, whether you go to the actual library or whether you view it online line, find out where the money has gone in the past. What are their interests if they are a foundation? Of if they are a corporation, who they are trying to reach? Corporations, I’ve gotten corporation grants to do public television programs, and it’s because those particular corporations wanted to reach the audience that public television gets. You have to figure out what the grant maker wants. And then be able to tell them, “I can deliver what you want to you.” It only makes sense. I mean obviously, it these people are going to be making grants or if they are going to be making advertising buys, they have certain needs. You have to understand what those needs and be able to tell them “this is how I can help you meet those needs.”

SYDNYE : So we’ll talk a little bit more a little bit later about distribution because that is part of it.

BILL: And this is probably the biggest mistake that many people make. In that they’ll put together a wonderful proposal. They’ve got a great theme. They’ve got colorful characters. A really, really good story, they’ve figured out exactly how to shoot it and edit it. They know what the look is and they don’t put anything about how they are going to distribute it. And if no one is ever going to see this program, this film, then why fund it?

You can learn more tips from Bill Einreinhofer about funding documentaries on the 45-minute audio CD “How To Fund Your Dream Documentary.”

TV Moms – Balancing Home Life and Producing

As my own mother puts it, “Motherhood is more than a notion.”  The demands, intensity and rewards are talked about, blogged about and dramatized in fiction.  With the non-stop schedules and sometime infantile personalities, television production work can be just as challenging.  Put the two together, and you may have a recipe of serious stress.

 How can TV Moms balance the demands of the family they love with the career they love (or at least find themselves in)?  I recently took part as a panelist in a discussion about motherhood and production hosted by the Washington, DC area Woman in Television and Film association to discuss that very question.  We shared some tips to help juggle it all.

• Give up the notion of Super Mom.  There is no such thing.  We are all Super Moms if we are loving and attentive to the needs of our family.  But this does not mean we are perfect.  I once sent my daughter to daycare in two left shoes.  It’s a long story.  The point is, she survived and doesn’t even remember it.  At the time of writing this article, I am feeling pretty good about my children’s development and my career development.  Just don’t look in my car – it’s disgustingly dirty.  And it’s not because of me that our floors are fit to eat off of. Thank God for Daddy!
• Join a TV Mom’s support group or start your own.  An editor friend and I decided to have TV Moms play date.  We invite other mothers in the industry to bring their kids, hand-me-downs and resumes. It’s fun and rejuvenating.  Plus I may have just gotten a gig because of one.  I also started a Goal Group with some Super Mom friends of mine.  We get together once a week, sometime via telephone, to set goals and hold each other accountable.  That’s how I finally got this blog site off the ground!
• Get a mentor.  No matter how far along you are in your career, there is always someone who has had more experience. Perhaps it is in production or perhaps it is in being a working mom.  Perhaps it is in an area of production that you’ve never explored.  It doesn’t matter if they are younger or older, man or woman.  It is just nice to have a “go to” person who can help you navigate your career.  My mentor is a single mom and an industry heavy-hitter.  She has given me helpful advice over the years and priceless job recommendations that have resulted in gigs.
• Research family friendly companies.  If you are working in a situation that is not compatible with your family life, research other options.  It may take awhile but it is possible to change your job environment.
• Craft a support system.  I am lucky to leave in my hometown with a number of family and friends that I can call on if I have to work late or travel.  If you can afford in-home help, consider getting a nanny while the children are young.  As the saying goes, “what all working women need is a wife.”
• Search out flexible opportunities.  Perhaps job sharing or working from home is an option for you.  If not, perhaps you can work through your lunch break Monday thought Thursday and work a half day on Fridays.  For two years, I searched for a work from home situation. I didn’t give up and have been working from home for the last 6 months.  This round of working from home may not last forever but I’ll keep searching for something permanent.

Don’t forget that you are not alone.  All TV Mom have moments when they feel that they are not doing a good job at home or at work.  The trick is to keep these moments to a minimum and not let them get you down.  Every once in awhile, that guilt monster tries to jump up on me.  But when I look at my children, I see that they are doing well, growing strong and enjoying life.  It’s okay if we miss our swim play date this time.  No one will fail to graduate high school if we put off potty training a couple of weeks until Mommy finishes shooting that news special.  And it’s okay if the kids have oatmeal and broccoli for dinner once in awhile.  In fact, they like it.  Just keep doing the best that you can and believe it or not, your best is good enough.

Writing Successful Grant Applications

Some of the most successful independent television and film producers are also the most successful at securing grant funding.  There are many types of grants out there including government agencies, non-profit organizations and private funding.  Once you have identified the grants that match your project, it is time to delve into the process of actually applying for the grants.  Here are a few pointers to help you make the most of your submissions.

• Carefully read the instructions and guidelines and then FOLLOW THEM to the letter.  This means filling out every section of the application in entirety.  If you talk to grant readers, one of the biggest mistakes they site is a non-complete application.  During my short stint as a grant reader, I found it helpful when the grant applicants mimicked the grant outline exactly as it was laid out.
• For any narrative answers, write clearly and concisely in jargon-free language.  This is not a time to impress people with your industry speak.  You want to plainly set out your intension so that anyone reading the application has a clear picture of you goals.
• Share your passion.  Just because you are writing clearly, doesn’t mean you have to be boring.  The best way to convince someone that your idea is worthy is to show some excitement about it.
• Give specifics.  A good idea or worthy cause do not speak for themselves.  Grant givers want to know that you have a plan to achieve your goals.  Do some research ahead of time and create an outline for yourself about what you are going to do and how you are going to do it.
• Don’t be afraid to ask questions.  Believe it or not, grant givers want complete, competitive applications.  If you don’t know how to answer a question, ask for clarification.  You can even ask about what the grant giver is looking for.  You never know what kind of response you’ll get.  Also ask previous successful grant recipients what they did to create a winning application.  They may have some insight that you never thought of.

Good luck.  For more information about fundraising in general, check out the recording of my teleseminar:  Funding Your Dream Documentary.

Navigating the HD Revolution

High Definition has arrived in full force.  Most major American networks and distributors (and many in countries around the world) require that projects be shot and delivered in HD.  Many production companies, crews and editors are racing to figure out what is the best way to make the change over to HD.  Amateur documentarians are facing the realities of up converting or adjusting their budgets.

It is a bold and exciting new world out there… but also confusing.  As an established television producer, I often have a hard time sorting through the maze of HD options.  Here are a couple of things to keep in mind when deciding what type of HD format to shoot on.

1. What type of editing intake system will you be using?  There are many types of HD record options (HDCam, HDV-HD, XDcam, etc.) and there are decks to go with each.  It is important to know how your edit system will acquire the footage.  You don’t want to show up to your edit session with tapes that don’t match the tape deck in use. This is a waste of time and money.  If you don’t know where you will edit or what type of system you are using, you can consider using a camera that records onto a disk.  Later, you can then transfer the footage onto a hard drive or straight into the appropriate editing program.  Or, you can choose one type of tape format and rent the appropriate type of deck when the time comes to digitize.  This will cost a little more but it happens a lot.
2. Super important – what type of footage does your network, client or distributor accept?  Some networks won’t accept some formats or minimal footage must come from it.  For example, they may allow a given HD project to have up to 15% standard definition footage.
3. Will you be required to deliver all of the raw footage and if so, in what format?  With many cable projects, producers are must hand over the raw footage… often in duplicate.  If the client wants that footage in a certain format like HDCam, it makes sense to go ahead and shoot with that format.  If you don’t have to turn over your raw footage, consider how you will archive the footage once your project is complete.
4. What are resolution and frame rate requirements.  Most of the projects that I work on are shot at  1080i or 720p.  Will your final project been show full screen?  Do you have to down convert to standard definition and if so, will it be center cut, anamorphic or letter boxed?  You’ll want to make sure that the camera being used has the proper settings available and that the tapes and edit system can accommodate your needs.
5. Will you buy or rent a camera?  This is a big question because a lot of money will be spent either way.  It will be helpful to have an idea of what types of HD needs you may have in the future.  If you rent a camera, or hire a cameraman with his own gear, ask to see a footage test to get clear understanding of what your footage will look like.

You’ll notice that I have not listed specific types of cameras or tapes.  I don’t want to make detailed suggestions when every situation is so different and there are so many options.  It is important to talk to as many people as possible about your project until you feel comfortable making choice.  Talk to shooters, editors and distributers/networks/clients.  Sometimes there may be more than one solution to your HD needs.  But armed with the right information, you can make the best decision for your project.  Good luck and let me know if you have any other helpful hints.